Gadaloff (1998) provides some useful insight into exploring how the drama student can become an astute and insightful dramatic critic. In discussing what the role of the drama critic is, she writes:

The role of the critic is to give an honest, intelligent, seriously considered, informed evaluation of a production that is suitable for publication. The role of the critic is to examine the production closely and identify the reasons for its success or failure.

When evaluating a dramatic production, the student critic should be cognisant of the following five elements:

1. the playwright and the play

2. the director

3. the actors

4. the production designers

5. the audience

and the following production values:

1. artistic

2. thematic

3. philosophical

4. human

5. dramatic

6. moralistic

Gadaloff further outlines the following preconditions for the student critic:

- be alert and relaxed.

- do not have any preconceived expectations about the production.

- be aware of any bias (gender, race, cultural) or prejudice against the playwright, director, actors or company.

- be conscious of your own values.

- be observant and sensitive.

- be tolerant of innovation or experimental drama.

- have an informed awareness of the elements of performance and production.

- be aware of audience empathy and audience reaction.

- take in the aesthetic qualities of the production.

- read the play prior to the performance as you may see the production only once.

- be able to write clearly and express yor views.

- be able to justify your comments.

- have integrity and write your criticism honestly, intelligently and from a seriously considered point of view rather than try to be clever.

Gadaloff outlines a framework of questions that you should use in your theatre reviews. You should attempt to consider some but not all of the questions.

The playwright and the play

What makes this script worthy of a production?

What is the purpose or intention of the playwright? (to inform, enlighten, persuade, teach, entertain, stir the conscience)

Does the play have universal appeal? How is this manifested through language, characters etc.

Does it something new or different to say or has it all been said before?

How does the play extend the audience's experience?

Does it have some truth or passion to express.

What view of society does it present?

In what way is it innovative? (stylistically, thematically, structurally)

What are the themes?

Does the playwright create well-drawn characters?

How is the play relevant to today's society?

What is the style and structure? (epic, realism, Absurd etc)

How does the plot maintain audience interest?

Is the narrative sequential, fragmented?

How are the dialogue and language appropriate to the characters and the style of the play?

The director

In what way is the direction well controlled?

How does the director realise the playwright's intention?

How do the shape and rhythm and pace affect the tension and mood of the performance?

How does the director achieve artisitic unity in the production?

How does the director use space and blocking to enhance the realtionship of characters, create mood and develop tension?

How do the dynamics of the performance heighten the meaning of the play?

Is the production innovative or original in any way? How does the director achieve this?

How does the director challenge the audience emotionally, psychologically, rationally, morally, intellectually, thematically or stylistically?

The actors

Do the actors work as an ensemble in consistent style?

How do the actors interpret and sustain their characters effectively and with authority?

Can the actors be heard and understood?

Do the actors convey the illusion of the first time?

Are the actors sensitive to timing and the use of pause and silence (especially in comedy)

Is there a quality of restraint in the acting that allows the audience to use its imagination?

Does any individual performance demand special comment? Why?

Production designers

Set Design

How does the designer create a set that is functional and appropriate for the style of the play and that conveys the right mood and atmosphere through aesthetic style?

Does the designer devise a set that is imaginative, creative, innovative, artistic, symbolic?

If the designer uses symbolic, what they convey to the audience?

In what way is the actor-audience relationship affected by the configuration of the stage?

Costume Design

How does the costuming enhance characterisation?

How does the designer co-ordinate costuming with the set, background and lighting?

Does the costuming portray any dramatic significance?

How does the costuming support the style and form of the play?

Lighting Designer

How does the designer use lighting subtly and effectively to enhance the emotional and psychological aspects of the production?

In what way is the lighting used symbolically?

How is focus created by the use of lighting?

Do lighting cues accurately correlate with changes in scene, mood and emphasis?

Sound/Music Technician

In what way are the sound effects authentic and appropriate to the play?

If music is used, how does it establish a specific historical period, contribute to the development of the mood and tension or maintain continuity?

In what way do sound effects and/or music enhance the dramatic value of the production?

The Audience

What is the actor/audience relationship?

Does the production challenge the audience in any way

What are the values of the production?

How successful is the production?

(Reference: Gadaloff, J. 1998. Springboards: Australian drama. Milton, Brisbane: Wiley Pub. pgs. 81-84)